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khichnā (of which khiñchnā is a variant): 'To be drawn, dragged, or pulled, &c.; to be attracted; to be absorbed, be sucked in; to be drawn out, be extended, be stretched; to stretch; to be extracted'. (Platts p.872)
naqqāsh : 'A painter; drawer; limner; draughtsman; designer; embroiderer; gilder (of books); carver; engraver; sculptor'. (Platts p.1145)
nikālnā : 'To pull or draw out; to take out... ; to extract; ... --to bring out or forth, to produce'. (Platts
FWP:
SETS
MOTIFS == PICTURE
NAMES
TERMSSRF gives full credit to Ghalib for his brilliant use of kheñchnā and khiñchnā , and rightfully so. But surely some of that credit should go to Mir's present verse as well. For after all, the first line explicitly contains khiñchnā , thus priming us to think of the possibility of kheñchnā as well. Then the second line gives us not kheñchnā , with a range of meanings that include 'to draw out' and 'to extract', but nikālnā , which means 'To pull or draw out, to take out, to extract'. It's hard to imagine that Mir didn't mean for us to feel kheñchnā hovering over the verse, doing the same work that nikālnā is doing.
In any case, the parallelism is strong and clearly defined: the line tells us emphatically that the artist didn't just sigh, but sighed 'uncontrollably, involuntarily'. The sigh was 'pulled out' of him. And the sigh was occasioned by the sight of the image that he had 'pulled out' by capturing it effectively on paper or hewing it from a block of stone. When he pulls something out, at the same moment something is pulled out of him. It's a piquant view of creativity.
Note for translation fans: 'To draw out' is so enjoyably apropos! It does tend to confuse the issue, especially in a verse about an artist who might well be a painter. For 'to draw' as 'to attract, to pull' is less common in English than 'to draw (a picture)', and the latter is not the idea the verse wants us to have. But if you want to make a literary translation and try to replicate some of the wordplay, you could always try it out.